Waldemar Sorychta called me a little late because he was doing “tons of interviews” because of the new Grip Inc. album that was released about a month ago. And while talking to one of the nicest chatpartners I ever had it became clear why it took him so long. After twenty minutes I asked him how much time he had left for me, he said he was already ten minutes too late for the next interviewer (so, the guy/girl that was coming after me was waiting even more, hehehe). Waldemar proposed me to call me back again the day after, so actually we talked over an hour. It took me a lot of time to write it all down, and due to some other problems this interview appeared too late on the website – which is all my fault and therefore I’d like to appology me to all people that were involved in getting this interview done: Sorry! Anyway, the interview got pretty cool in the end, so, enjoy your read!
Kind of a suspected question probably but what took you so long after Solidify?
Well, we had to learn to play our instrument better this time (laughs). The main point actually is that we already practised back in 1999 for the material that should’ve been released on our fourth album. But when you feel that the band is kind of ‘burned out’, that the emotion is running out and that the fire is getting weaker, than it is the best decision to have a break. For our music is really based on the emotional part of life, you know, than it is really necessary to have this part. Musically, we could’ve done this record already three years ago, but then this record won’t have a heart. So, we made the decision to break from each other for a little while, and then – only then – we are willing to come back together when especially I can see that each one of us is fully behind the band. That every chord on this album is 100% Grip Inc., that every thought is Grip Inc. And that actually started to happen after three years, we started to miss the band, the feeling started to grow and we were especially starting to miss the great atmosphere of Grip Inc. This atmosphere is actually the most important thing of the band, you know, we are three different people from three different countries and from three different backgrounds, when you put these three people together you get something very special with a unique sound. You just can’t go to a studio and do this recording-session, we need to live with each Grip album, this is not only a job, you know! We have to give a full emotional touch and intensity to this music, and that was actually missing, so, that is why it took us a little bit longer than usual.
Aren’t you afraid that people forgot you over the years?
You see, the most important part of the thing we’re doing is not to concentrate on what other people want to, or what other people think is best for them. We have to decide what is the best for the band, and I think that those people who enjoyed the previous Grip albums can say, while holding this new record, “this is an absolute topper album”. We could’ve done an album two years ago, and then a lot of things would be much easier on the business part. You are on the danger that writing and recording an album is getting more of a routine instead of a creative procedure and that you are 100% behind the music. And I wouldn’t like to change the situation, I’d rather wait four or five years and have something in my hand of which I can say: “Now, this is something really great and I couldn’t have done this better now”. It is really wrong for a band like Grip Inc. to just go to the studio and record something we had in mind. So I guess the people who enjoyed listening Grip Inc. will actually like this album better than the album we could’ve done in an earlier stadium.
What kept you and the others busy all these years?
Well, we just not like music, or enjoy music. We actually live music. We’re doing 100.000’s of interviews, and in this time I probably could’ve written already a new Grip Inc. album. But, that is also a part of a new album. I made thousands, ah well, thousands … I wrote hundreds of songs. I am constantly busy with music, new ideas and different artists. Maybe one time I will release some things because I really enjoy working with different artists. I will also like to release this for myself, because it is something that comes from myself, something very personal. It is also something different than constantly producing someone else’s band.
At this point Waldemar got talking about other things than I expected – and other than I actually asked. But because it was pretty interesting I didn’t interrupt him. He started talking about the behaviour of Americans against foreigners…
You know, we booked everything that we needed for recording this album. We booked the studios, we booked hotels and we booked the flights. But then all this bullshit happened to me, because of the difference in the approach of other people – a new political movement makes it hard for foreign visitors to get to the USA. They don’t treat them as shit, what happened to me was even worse. They picked me from the lines and put me in a separate room and asked me thousands of questions. And I didn’t know what was going on and what the point actually was. I have to explain this situation, in the fourteen years I have been visiting the USA for it is a major part of my life and for the band, living in the States. I don’t have anything on my record and then they treat you like you are a murderer or a terrorist. And even they allow you to make a phone call, but I wasn’t allowed to make this phone call, my human rights were definitely violated. Even when I asked them for a phone call they started to scream and yell. Then I was treated like a real criminal, they took me – this is no more fun, I had to go through all this bullshit – they threw me out of their country with the handclaps of the audience, and showed they had the main power over here. We throw all the bad guys out. All these situations brought us even closer than we already were, then we got practising in Germany. Then we really felt that everything in this room was on fire, the feeling was strong. Everything really explodes and THAT is what you hear on the album.
What do you think is different on Incorporated in comparison to the older Grip Inc. albums?
I think the main point is really the absolute right decision of us to have this break so when we came back – like I already said – all of us could feel that right spirit that is so important for Grip Inc. We got in the practise room and in the studio for the one and only right reason. There was no need to search and pointing to someone, we came straight together and then this explosion took place, when we came together everything was just based on the music. And the other point is I think when you compare it to the first record which has always got a more special emotion, compare it to .. erhh … a new love for example. That everything you feel is on fire and the feelings are much more intense than you could ever imagine before. But on our first one it was kind of strange, because we didn’t know each other that well and we all had to find out where his position was – and where the others are. I mean, this time we all knew exactly 100% where to put the other person so we could fully concentrate ourselves on our music. We knew what we could do, and we knew our borders and the points we shouldn’t go – where we should stop for it wouldn’t make any sense. So, everything was fully pointed on the music, and this is something from the beginning to the end you are actually able to hear on this record, a 100% pure emotion and intensity. We are fully into it – which is actually a big part of our music anyway. I think, music like this, and especially our music, Grip Inc. music, deserves this feeling, for it is based on it.
I also had some things in mind, the main thing where I thought of was that the over all sound was a lot more mature. How do you think you managed that? Because of the break?
That is indeed probably one of the reasons, the other point is also, I mean, in the past we recorded each CD real and pure. We did that too this time, but for example, on “Solidify” we used keyboards. But this time we wanted that each sound and each note was recorded and played by real humans. Well, we still have a few back ground keyboard sounds but it is not the main-sound. The rest you’ll hear on this new album is played or sung by humans. You see, the technical progression of today, I mean, the digital way of recording is a great help for people. It makes things easier and better for producers and bands, but there are too many people that misuse this kind of technology. Instead of letting these new methods help them, they record one or two guitar lines and then they get to work on the computer. What I mean to say is that many people go to the studio, record for one hour and then work for one week on the computer. This result in a CD without any mistake which sound very well, but it is also very cold and carries a plastic sound. But we wanted a record that is from the beginning to the end is done by us, that is why we also have a lot of guests on this album. Those people are playing instruments or sing besides what we are doing all the time. One of the best known guests is probably Eicca Toppinen from Apocalyptica who is playing cello on three songs of us. The story of this is actually pretty short, during our pre-productions the Apocalyptica guys called Dave whether he was interested in co-operating in the new Apocalyptica album – and that actually gave me the idea to contact them for my cello idea. In the past I already wrote a few songs for cellos. We came together and talked about this, about mixing these older ideas with our Grip Inc. thing and play with this Apocalyptica guy. This happened for instance in the “(Built To) Resist” song. It is a very interesting mixture, you see, but it still has the unique Grip Inc. soul, vibe and feeling. Unmistakable…
I will come back on the cellos later. For I concluded somewhat the same for the vocals. They sound more varied and better than before, if you’d ask me. Did you have some lessons, took more time, or…
YEAH! That is absolutely right, that is also something takes my breath as well. Sometimes I can’t really say what happens there in Gus’ throat. I would like to explain and describe one point on this. The very special thing in this band always was this combination – like I just told you – three guys from three different background and countries. For instance, Dave has absolutely his own identity, he really has got an own style, an own unique drumming style that won’t be equalled by anyone. It doesn’t matter with who he’s playing it will always be clear that it is Dave Lombardo behind the drumkit. Gus has absolutely his unique voice, and the way he used his voice on this record is absolutely one of the highlights of our new album. The great thing about this is that the most melodic parts has still got this roughness and raw sound. You’ll never have the feeling that someone is really trying to sing something nice or whatever. Even in the melodic parts you still hear this pureness of Gus’ voice. And where the voice is at the moment is an absolute magic point. And if you combine this with the variation in the songs and the absolute great songs you’ll get something very special. It is a creation of a very unique sound. I won’t say that we are completely different and sound 100% unique and blah blah blah … like all musicians always do. But at least I think – and know – that what we do IS done 100% by us, and therefore belongs to us. We are not those kind of people that watch Mtv or whatever music channels and see what’s hot at the moment and create music in that genre/vein or trend. We are not reproducing anyone’s sound or style, what we do is letting our feelings do the talking – or composing in this matter.
Coming back on the classical elements in the music, the cellos and the Spanish flamenco guitars for instance. The addition of these classical elements gives the album a more varied content. Could spend some more words on this?
Yeah, like I said. But, I’m the guy that constantly makes music. Call me addicted. A day without a new song it feels like a lost day to me. It feels harder to me not playing music than to play music. Take this for example, there are people who like music, there are people who love music and you have me, I live music. To me it is absolutely unbelievable to think that I have to leave this for one period. So, I also wrote different songs for cellos or other instruments in the classical directions, but I also do Spanish flamenco or heavy songs or whatever. I just like to play and make music – I prefer to create music by the way. Both the Spanish flamenco and the cello parts have been written a pretty while ago. But, like I said and explained how this idea came to life.
Waldemar started to talk some more on the classical flamenco guitar part than I expected, so I let him finish his story, which was getting more interesting with each question/part of this interview.
We built in more of this classical guitar stuff on this album because we thought it was time to move our borders more wide. We still know where to go and definitely where we shouldn’t go. For people who play this album for the first time it may sound a little new or fresh. But you have to understand that for us it is nothing but normal. Erhh… I like flamenco music a lot. But the point I wanted to make is that we didn’t want to make a song with some different ideas but we wanted to create a song that is actually based on this. Of course we still want to capture the main thing, the Grip Inc. sound in the songs. This is definitely the most difficult way of creating a song for us, but it is also the best way. Normally when hearing flamenco guitars you fancy yourself on vacation, right. Most people, do… hehehe. But we wanted to use this but without that annoying vacation-flair – we want the darkness and power of Grip Inc.
The music sounds a lot more modern, with a slight industrial intent. Don’t you think that people will label it as nu-metal, since many people have the tendency to bad-mouth all bands that have a modern sound these days. Some of the discussions on the net were already rambling about this…
Hahaha, owh, man… They shouldn’t be afraid of that! We waited long to create this album, we worked hard for it – but definitely taking the time was important, I made that clear. It wouldn’t make sense at all to wait four years (five if you count to the release date) and come up with some trend music like nu-metal is. We will always continue our own thing, and that is not nu-metal. But there are always people who try to compare things with other bands, styles and hypes. My opinion on this? Well, for some reasons it is ok, but man, you shouldn’t waste your whole life with comparing things to eachother, I do not understand why people always need to compare, why can’t they just accept things how they are. Let the feeling do the speaking/hearing that is the thing that is most important after all. People are caging themselves, your know. People label bands with “nu-metal” or “hardcore” or whatever. But music shouldn’t be about labels, if you like a band/or some piece of music then you like it – and be happy that there are still people making the music that you like.
I interrupted Waldemar with a practical question, I wanted to know how much time he still had left for me and my interview session. He told me that he was already ten minutes over time (I’m sorry for the colleague that was after me), so we agreed that Waldemar would call me again the next day. For I still had some things on my mind that I wanted to get cleared. And besides that, Waldemar is one of the nicest chat partners I ever had I didn’t like to interrupt him and his interesting stories… He thought that it would be a great idea to do another interviewing session because he thinks that it is necessary for the press to show their interest in the band. “Most people are in it for the money and forget the musical part, we need to prove ourselves to get on tour. Labels are just looking at your sales and not to your music”.
And with this new session Waldemar left a more hurried impression on me, so I guess that SPV (their label at this point) have been pushing him not to lose more time on this kind of long interviews or answer with that many words. Yet, this second session was as interesting as first one, but I had to skip a few questions for he wasn’t able to answer them, questions about lyrics for instance.
This time he started complaining about a headache for he was already doing interviews for about five hours on a row. But I forced him start anyway, hehehe…
Since Dave is busy with the psycho rock/metal/whatever outfit Fântomas do you think he took some of those influences with him for this new Grip Inc. album?
Maybe he did, but I’m not too sure, for we all come from different backgrounds. The thing that is when you are playing with a lot of different musicians you combine a lot of different ways of playing, and it makes you look onto your music from different views. It always makes you think about the music that you just have created, so I wouldn’t say it makes you bigger, but it does make you come further. It leads that you can come quicker to the point that you wanted to achieve. That is absolutely a good thing when all of us are doing different things besides Grip Inc. with different people and musicians, with different views, styles, whatever. People shouldn’t always take it as a negative point that musicians are involved in dozens of other musical projects – it will only enrich the player, it is for his/her benefit.
And he is also back with Slayer again, did that had an influence on “Incorporated”?
Hmmm, this is a question I can’t really answer you that well, because I don’t really care how many things you do besides this band, Grip Inc. When we come together as a band, as Grip Inc., I wish that everyone is there and not just gives his best but even more than his best. Each thought and everything is for this band. So, when we are together we are working for Grip Inc. and for nothing else, pretty simple. Let’s put it in an example. Fancy yourself a band that is pretty good, all of them are 100% into their band and don’t do anything else besides their own band – I mean no other musical activities. They practise twice a week and do their absolute best. But they’re playing 58% of their lives playstation games. Does that make them more true and honest about their music than we do. I think not, absolutely not. Like I said, we are a band that consists out of people who are not only like music – we live music, we simply can’t stop playing music. That is actually the reason why we are also involved in a lot of different musical projects, and that is just positive for us and for Grip Inc. as well. The main point is that we shouldn’t do anything what we don’t like. But, so far, everything what we do is just a reflection of our personality, it is us. So, when we come together as Grip Inc. we are us, and we’ll produce something what you will hold in your hand and you can think that you can’t top it in any way.
I was aware that I didn’t got a real answer but just some words that describes his feelings for the band – again – a little more. But I decided to go further down the spiral with the next question, for that would be the best way to let Waldemar do his own story about Grip Inc. So, on the picture on my promo there are just the three of you. Who plays bass on this recording? You seem to have a problem with bassists!?
Yeah, first in the beginning it really seemed like this. We had this Spinal Tap with bass-players, it was most of the time it wasn’t really funny. You see, in the beginning there were people coming to this band that were actually not interested in playing the bass-guitar or playing music at all. During an audition we often got the first questions from bassists is: “which kind of hotels are you guys using”, and questions alike. Then I say “Hey, did you listen to the songs? Or are you interested in something else, let’s say, being a rockstar”. And, indeed, we had a lot of trouble with bass-players in the beginning. I think that with Stuart – who was part of the last album – we really found someone we like to share our future with. The reason why is not a part of this record is a whole different story. I played the bass on this CD. And the reason why is yet left untold I guess. We were almost done with this pre-production, which we basically did here – Gus is living since two years in the same town as I do – so we could work very efficiently. And these pre-productions were absolutely excellent, I think those recordings are very important and this time we had really great recordings. And then we felt that it was time to get this Grip Inc. back to life with all of us, you know, we felt the air starts to burn and we wanted to practise. Then I started to book the flights – for our rehearsal room is in Los Angeles (where Dave is living) – but then this aforementioned bullshit happened to me. They treated me like something that is not even equal to shit. I don’t even got the words to describe this. So, that was the reason why had to change our plans and rearrange all the previous booked and planned things, we always worked this way so it was kind of fucked up to change it all. So, we had to book flights, hotels and had to arrange drums to do it over here. But because it was a lot of stuff going on we decided that I was going to do the bass in order not to loose anymore time. And it wouldn’t be a problem for I know each song on this record, I’m familiar with each very note on the record. So, I took the bass part in the studio – but when it comes to playing live we definitely want to continue with Stuart.
But, don’t you think it is a little unfair to him that you didn’t even put him on the pictures? I mean, I thought he was a part of the band now?
Well, you must understand that we have no full contract with him he is set as a live/session bass-player. Not as a full member yet. But we are certainly willing to involve him more and more into the band, but for this moment we thought it was more useful to use to get a good record first and then solve this problem. But he is on a way to become a part of this band for sure. We just decided on the most necessary part and that is definitely the music.
You said that Stuart is still set for live concerts, so, there is a tour attached to this new album?
The situation looks like this: we have been out here on this metallic market for a couple of years now, and I’m working in the music industry for years now – for I’m a producer as well. And I know that this business is only looking to the sells. They don’t really care about the music they sell, they will do it with any bullshit. What I try to say is that they are willing to sell crap, bullshit and fucked-up things as longs as it sells, as long as they are able to earn money from it. Cash is the language they talk. You can probably easier sell forty-five minutes of farting than a good musical album. And when these farts sell over two million every five minutes the phone will ring and people will tell you how great – how AWESOME your farts sound. And, when you have made a great musical album and it doesn’t sell really well – it will get a lot more difficult. I mean, you go somewhere and people will ask you “what you are doing here, what do you want?”, and you say that you make records the next thing they will ask you how much you sell. If you answer “not that much” they simply send you away and tell you to fuck off. This industry is only business, they don’t care about the music at all. I would rather call them moneycollectors instead of musiclovers. The point why I’m telling you this is because we are waiting for the reactions on the album, for people will only support you and your ideas/music/tours whatever if you sell enough records. Nobody is willing to take a risk on this one, nobody is willing to believe in the music or in the band – and that is not only for Grip Inc., that is for the whole music world and in each style. They won’t organise and set up a tour when they are not sure that they will get a HUGE profit out of it. Everyone is waiting to make profit out of you. They are willing to promote music that they hate intensely, something that they won’t even listen one day in their lives. But, when they know they will make some big money with it they will promote this. In our situation for our band we need actually some people that have our idealism, that are willing that are in it for the same reason as we do, for the music. You know, it doesn’t make sense to book a tour and get all things done while you know that there is no-one that is actually going to back you up and support you. It is too romantic that you are going to tour and you just have to focus on the music. We should do that, but when there are no people who are willing to work for you – I mean there is a hell lot to do behind the scenes than just playing your show, right! And this can only be arranged if people smell the money that could be involved in this. So, just wait a little while and see what the future brings us. Hopefully we can do some festivals this summer, because we are definitely willing to share this album and our emotions with you all on a live set. I truly hope to get to tour soon…
So, there might be a chance to see you on the festivals this year?
Yeah, but that is in a process, you know. I’m talking to a lot of people about this. But talking with you – and other people who like the music – is completely different than to people from the music business. I actually have to say just business for they don’t care about the musical part – like I said. They have only arguments that handle about sells, how many selss, money, how much money, THAT is really the only thing they are interested in. They don’t care about ‘who’ and ‘why’, the just see ‘how much’.
Something different now. You have signed a deal with SPV for this new album. Why did Metal Blade drop you (or did you leave Metal Blade?). Do they support you the way you hoped for?
Well, actually it is a little bit too early to make the conclusions. That is something I could probably answer better in about half a year. In my eyes it is going better and better, for people are coming to the point that they see that this kind of music is really something great. I mean, we are not good because of our name is written on the cover, we are good because our music is. And people should definitely figure this out one time. The best part of the album is the music, the songs, and not us behind it. The power and the unique sound of the band is what makes us interesting. And that is something that this album carries very, very far, and surely as well if this would be a newcomer band. And you – owh, sorry, I don’t mean you personally, but I mean a record company shouldn’t sell a record because a few names. I’m telling you this because there is never and there will be never only a name that will create a great record – the musicians and the good songs that makes a good record.
And about leaving Metal Blade…
This is a point that was straight from the beginning was a big misapprehension. Because the way they wanted to market this band and the way WE wanted was 180 degrees the opposite of each other. The way the wanted to sell our albums – even the last one – was with Dave. They wanted to sell it with big stickers and adverts with “including Slayer drummer Dave Lombardo” to the Slayer people. We thought that was completely wrong, even Dave himself gets completely crazy that this whole thing goes after him, because like I said this band has much more to give than just a name. And there is no doubt that the drumming part is very, very important in this kind of music. I will explain you once again, if there will be even ten Daves on the album but the songs will suck big time it simply won’t be a good album. It makes him crazy, for this album has so much to give: many different moods and feelings. Great enthusiasm and intensity, that is pretty rare these days. And this is something that Metal Blade never understood – or at least, we thought so. Because they kept focussing this on Dave instead of the music. And this resulted in us going two different ways, and I guess this was the best for the band – but best for them too.
At last I wanted to ask Waldemar about the lyrics, but he couldn’t really answer the questions because he wasn’t really involved in the writing process. And it is Gus’ own personal reflection that was put in this album so he wasn’t really into answering these questions…
This second (and last) session was coming to an end, I asked Waldemar whether I forgot something to add to my question. He had one interesting thing to say: Well, I should warn people who start to listen to this new album, because it might be dangerous. It is a heavy album (laughs). But you shouldn’t also have the idea that this album is from the beginning to the end on 220 on double bass. This albums is pretty colourful and intense
And if this wasn’t enough, we talked a little further about all kinds of other things, and we discussed a lot of things as two music lovers. And in the end I think this was a pretty interesting interview with a deep insight in Grip Inc. and the new album.
